model of criticism by feldman

1. Feldman Model of Criticism
Prepared by: Paulyn A. Mallorca MPE-DANCE

2. MODEL FOR DANCE CRITICISM
VERBAL IMAGE of individual elements including but not limited to
space, time, energy, force, flow, setting, costumes, and music or
text.
INTEGRATION AMONG ELEMENTS- structure, style, similarities or
differences, relationship between form and content
MEANING DERIVERED
Ideas, Emotions, Associations, Your own interpretation, Hypothesis
and defend with evidence
SUPPORTED OPINION OF WORK
Likes and dislikes
Strengths and weaknesses with reason
Description
Analysis
Interpretation
Evaluation

3.  Description
is used to give the reader a picture of the performance and is
also crucial as the groundwork for analysis, interpretation, and
evaluation. Description is a straightforward recounting of what you see
and hear. It focused on the individual elements of a dance rather than
on the whole.
These specific movement moments also provide interpretations and
evaluation. More generalized description of a dance or section of a
dance is appropriate for capturing its flavor. Describing dance in great
detail throughout the entire critique is neither possible nor appropriate.
Because dance is a language of movement and writing is a language of
written symbols, there is a problem of translation between the two.
Capturing on paper what you saw embodied onstage can be difficult.

4.  However, it is possible to capture the essence of that experience, and the following
are some suggestions toward the end:
1. Use strong and varied action verbs, such as slice, slither, melt, and propel.
2. Use interesting adjectives, such as tangled arms, piercing leaps, floating turns.
3. Use colorful adverbs, such as leaned heavily, spiraled briskly, tumbled fluidly.
4. Avoid overuse of tired adjectives, such as nice, good, bad, wonderful.
5. Avoid hyperbole, such as the worst , the best, the most.
6. Use active rather than passive voice.
• Active: The dancer gestured to her partner as the music changed tempo.
• Passive: As the music changed tempo, the dancer could be seen gesturing to her
partner.

5.  Examples of Description in Professional Reviews
1. Here is a lively description of Miguel Guterrez’s Everyone excerpted from a review
by Eva Yaa Asatewaa (2008,).
These dancers change like weather over open plains. Severe in one
moment, they’re smiling in the next , breaking loose in a wild, adolescent
Then they settle into orderly exuberance, stomping in unison, a rhythm we feel
our own feet on the resounding floor. Suddenly, as if cooling down after
exercise, they flawlessly execute a circular court dance, clockwork complexity.
2. Here is a specific description, or movement moment, from a review by Deborah
Jowitt, writing in the Village Voice about the New York City Ballet performance of
George Balanchine’s ” Concerto, Opus 24”
A man ( Bart Cook) manipulates his partners (heather Watts) with
gentle inquisitiveness, Crouching down, he pushes her leg; she bends it….he
and lifts her while she’s holding hands in a circle of four women. Whatever he
with her causes the wreath that she’s part of to dip and rise, close and expand.